Ryan Murphy's American Horror Story used to be great, but Mike Flanagan is the new horror TV master.
The Big Picture If you were around during the early years of American Horror Story, then you most likely remember how impactful it was. Twitter and Tumblr were never the same after 2011, with viewers getting way too attached to Tate and Violet's relationship from Murder House, quoting every line Jessica Lange's Fiona Goode had in Coven, and obsessing over Sarah Paulson's iconic final-girl scream.
While earlier seasons and fan favorites like Murder House and Asylum were straightforward horror stories as opposed to metaphors with deeper meanings, they were highly effective when it came to sparking both interest and discomfort in their audiences. A plethora of taboos were explored and portrayed in unfearing, over-the-top ways, whether it be through disturbing visuals or bizarre musical numbers.
However, it is difficult to maintain the magic of the earlier seasons when its most beloved players are no longer in the series. There was also something more endearing and effective about American Horror Story when it was on a smaller, simpler scale while prioritizing its characters. When the show portrays ordinary people reacting to the terrifying situations they find themselves in, the show is at its best. There are still glimpses of that effectiveness in later seasons.
Flanagan has since continued to build his own horror universe. What follows Haunting of Hill House is a string of compelling storytelling, with The Haunting of Bly Manor, Midnight Mass, The Midnight Club, and most recently, The Fall of the House of Usher. Whether it be religion or addiction, the shows created by Flanagan have portrayed many topics in creative and powerful ways that rival the actual scares.
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